Sundance 2022 features more than 40 projects created with Blackmagic Design solutions

Over 40 projects featured at the Sundance Film Festival 2022 were created using ブラックマジックデザイン cameras, software and other devices.

These films and series include several award-winning projects such as the immersive documentary 32 Sounds, which used the Blackmagic URSA Mini Pro 4.6K model was used for certain shots and was colour graded in DaVinci Resolve スタジオ; 892, in which security camera footage was captured with a Blackmagic Pocket Cinema Camera 6K unit and DaVinci Resolve Studio was used to colour grade and process the footage on set; and The Exiles, shot partially with a URSA Mini Pro 4.6K unit and colour graded in DaVinci Resolve Studio.

The virtual reality project Diagnosia also used DaVinci Resolve Studio to edit its footage, as did a significant portion of the festival’s feature films, including Call Jane, Emily the Criminal, Master, Resurrection, Sharp Stick そして When You Finish Saving the World。

Sundance 2022 projects made with Blackmagic

32 Sounds: Cinematographer Shane Thomas McMillan used the URSA Mini Pro 4.6K for some shots.

892: Director of photography Doug Emmett used a Pocket Cinema Camera 6K unit for the security camera footage, while digital imaging technician Michael Borenstein chose DaVinci Resolve Studio to colour grade the dailies. In addition, editor Chris Witt used an UltraStudio Monitor 3G device as part of the editing workflow.

Diagnosia: Mengtai Zhang and Lemon Guo used DaVinci Resolve Studio to edit archival content on the project, as well as the trailer and explainer video, and an Intensity Pro 4K capture and playback card to record the screen.

Emily the Criminal: Cinematographer Jeff Bierman used DaVinci Resolve Studio on set to colour grade some shots.

の Exiles: Director Ben Klein used a URSA Mini Pro 4.6K unit for certain shots.

God’s Country: Cinematographer Andrew Wheeler used DaVinci Resolve Studio and a DaVinci Resolve Mini Panel device to grade some images on set.

Jihad Rehab: Editor Evan Vetter used a Blackmagic Web Presenter to work remotely with the director during the editing stage.

A Love Song: Colourist Ernie Schaeffer (Splendor Omnia) used the Fusion module in DaVinci Resolve Studio to clean up the visual effects.

Neptune Frost: Assistant editor Skylar Zhang used DaVinci Resolve to create dailies as part of the editing process.

Resurrection: Visual effects supervisor Alex Noble (Wild Union Post) used DaVinci Resolve Studio.

Something In The Dirt: Directors Aaron Moorhead and Justin Benson, and editor Michael Felker used DeckLink 8K Pro capture cards.

Stranger Than Rotterdam: Cinematographer Ben Klein used a Pocket Cinema Camera 6K unit.

TikTok, Boom: DP Steve Acevedo used URSA Mini Pro 4.6K G2 and URSA Mini Pro 4.6K.

Sundance 2022 projects graded with DaVinci Resolve

2nd Chance was graded by Jane Tolmachyov of Goldcrest.

32 Sounds was graded by Natacha Ikoli of Nice Dissolve, with DI Supervisor Pierce Varous also using DaVinci Resolve Mini Panel, DaVinci Resolve Micro Panel, DaVinci Resolve Speed Editor, Smart Videohub 20×20 router, UltraStudio 4K, DeckLink SDI 4K and Mini Converter SDI to HDMI 6G throughout the post production pipeline.

892 was graded by Natasha Leonnet of Company 3.

After Yang was graded by Joe Gawler of HARBOR.

blood was graded by Roman Hankewycz of HARBOR.

Brainwashed: Sex-Camera-Power was graded by Mike Sowa of FotoKem.

Bring on the Dancing Horses was graded by Bruce Bolden of Sugar Studios LA with a DaVinci Resolve Advanced Panel.

Call Jane was graded by Nat Jencks of PostWorks New York.

の Cathedral was graded by Steve Beganyi of Goldcrest.

Cha Real Smooth was graded by Nat Jencks of PostWorks New York.

Champ was graded by Luke Cahill of Lightwave Post.

Chiqui was graded by Robert Wagnerman of Haym Pictures.

DOWNFALL: The Case Against Boeing was graded by Luke Cahill of Different By Design.

Emily the Criminal was graded by Walter Volpatto of Company 3.

Every Day in Kaimukī was graded by Abraham Williams with a DaVinci Resolve Mini Panel.

The Exiles was graded by Samuel Gursky of Irving Harvey.

Framing Agnes was graded by Arlene Moelker of Picture Shop Toronto.

Girl Picture was graded, online edited and finished by Petri Falkenberg of Grade One.

Honk for Jesus, Save Your Soul was graded by Billy Gabor of Company 3.

A House Made of Splinters was graded, online edited and finished by Anders Vadgaard Christensen of Kong Gulerod Film ApS.

I Didn’t See You There was graded by Natacha Ikoli of Nice Dissolve, with DI Supervisor Pierce Varous also using DaVinci Resolve Mini Panel, DaVinci Resolve Micro Panel, DaVinci Resolve Speed Editor, Smart Videohub 20×20, UltraStudio 4K, DeckLink SDI 4K and Mini Converter SDI to HDMI 6G throughout the post production pipeline.

The Janes was graded by Ken Sirulnick of Goldcrest.

Jihad Rehab was graded by Luke Cahill of Different By Design.

Leonor Will Never Die was graded by Timmy Torres.

Living was graded by Joseph Bicknell of Company 3.

A Love Song was graded by Ernie Schaeffer of Splendor Omnia.

Master was graded by Sam Daley of Light Iron.

Mija was graded by Kath Raisch of Company 3.

My Old School was graded by Jon Bruce, and online edited and finished by Lewis Carmichael, both of Blazing Griffin Post Production.

My Trip to Spain was graded by Ryan McNeal of RKM Studios.

Resurrection was graded by Nat Jencks of PostWorks New York.

Sharp Stick was graded by Nat Jencks of PostWorks New York.

Sirens was graded by Maria Carretero of Nice Shoes.

Something In The Dirt was graded by Aaron Moorhead.

Stranger Than Rotterdam was graded by Samuel Gursky of Irving Harvey.

The Territory was graded by Seth Ricart of RCO.

TikTok, Boom was graded by Zachary Ludescher with a DaVinci Resolve Mini Panel, using a DeckLink Mini Monitor 4K for 4K monitoring.

Watcher was graded by Stephen Nakamura of Company 3.

When You Finish Saving the World was graded by Joe Gawler of HARBOR.

You Won’t Be Alone was graded by Marty Pepper of Kojo.